Ian Hussey

Principal Dancer

The William A. Loeb Principal Dancer

Ian Hussey was born in Westmont, NJ and began his ballet training at age nine at The Rock School for Dance Education. In 2001, Mr. Hussey continued his training at Central Pennsylvania Youth Ballet under the direction of Marcia Dale Weary. Mr. Hussey also attended summer intensives on scholarship at The School of American Ballet, San Francisco Ballet, and Exploring Ballet with Suzanne Farrell, among others.

Mr. Hussey was a member of Pennsylvania Ballet II and an apprentice before being promoted to the Corps de Ballet for the 2007-2008 Season. He was promoted to Soloist for the 2010-2011 Season and to Principal Dancer for the 2012-2013 Season. Since joining the Company, Mr. Hussey has danced featured roles in ballets such as Matthew Neenan's As It's Going and Carmina Burana, Val Caniparoli's Lambarena, Twyla Tharp's Push Comes to Shove and Nine Sinatra Songs, Jerome Robbins' The Concert and Other Dances, Paul Taylor's Company B, Mauro Bigonzetti's Kazimir's Colours, Christopher Wheeldon's After the Rain, Sir Frederick Ashton's La Fille mal gardée (Alain), Jiří Kylián’s Forgotten Land (Grey Couple) and Petite Mort, William Forsythe’s Artifact Suite (Pas de Deux 1) and In the middle, somewhat elevated, John Butler’s Carmina Burana (White Solo), and George Balanchine's The Four Temperaments (Melancholic), Agon (First Pas de Trois), Serenade, and Emeralds from Jewels. His principal roles include the title role in John Cranko's Romeo and Juliet, Prince Siegfried in Christopher Wheeldon's Swan Lake, Cavalier in George Balanchine's The Nutcracker™, Count Albrecht in Giselle, and Divertissement Pas de Deux in Balanchine’s A Midsummer Night’s Dream.

Also, Mr. Hussey has created leading roles in ballets such as Annabelle Lopez Ochoa's Requiem for a Rose, Jorma Elo's Pulcinella, Trey McIntyre’s The Accidental, and Matthew Neenan's Pampeana #2, Penumbra, Keep, and At the border. In May 2014, he was featured in the nationwide PBS broadcast “Pennsylvania Ballet at 50” in Margo Sappington’s Under the Sun Pas de Deux.